Olivia Rodrigo Releases Political New Song ‘Serena Joy’

imogenhartley
5 Min Read
Listen to this article now
00:00
00:00

Olivia Rodrigo releases ‘Serena Joy,’ a politically charged, ‘Handmaid’s Tale’-inspired song, now on streaming. Listen here

Olivia Rodrigo has never been shy about anger, but Serena Joy points it somewhere new. On Monday (Aug. 24), the 23-year-old released the politically charged track to streaming services, a stark departure from the romantic wreckage of her latest album and a direct warning about the danger of looking away from injustice. Named for a character in Margaret Atwood’s The Handmaid’s Tale, the song arrives days before Rodrigo’s all-female Daisy Chain Fields festival, and it makes her feminist convictions impossible to miss.

The rollout was as pointed as the message. Rodrigo first released “Serena Joy” over the weekend as a limited-edition CD single, pressing just 500 copies and selling them exclusively at Analog Music Shop, an independent record store in Tustin, California, roughly eight miles from the festival’s Great Park site in Irvine. All 500 sold out within hours. On Monday she made it available to everyone. “Surprise!!! Serena Joy out on streaming platforms now,” she wrote on Instagram. “A portion of all net proceeds go to daisy chain fields fund. I love this song so much!!!!”

A Warning Dressed as a Pop Song

The character gives the song its spine. In Atwood’s world, Serena Joy Waterford is a former Christian media personality married to a high-ranking official, a woman who comes to regret her complicity in America’s descent into a Christo-fascist dictatorship. Rodrigo never names her in the lyrics, but the title turns otherwise vague lines into sharp focus.

Yeah, it’s all for the cause / For the good of us all / And if you close your eyes / Then it can’t be your fault,” she sings at the outset, before invoking “a tower we built / Painted gold on the walls”

The chorus lands the thesis like a hammer. “If they do it to them / They’ll do it to you,” Rodrigo repeats, a plainspoken argument against the comfort of thinking oppression only happens to other people. It is protest songwriting stripped to its most direct form, and coming from the biggest pop star of her generation, the warning carries unusual reach.

From the Cutting-Room Floor to a Cause

The song has a history. “Serena Joy” was recorded during the sessions for Rodrigo’s acclaimed third album, you seem pretty sad for a girl so in love, and shares the new wave textures that run through that record. It was originally intended as the album’s twelfth track. A June photo posted by co-producer Jim-E Stack revealed a prototype 18-song tracklist that included it, before it was ultimately cut from the final release. Rather than let it disappear, Rodrigo repurposed it as a standalone statement tied to a specific moment and a specific fight.

That framing is the point. By routing proceeds to the Daisy Chain Fields Fund and dropping the track days before the festival, Rodrigo has fused the music to activism rather than mere promotion. Daisy Chain Fields, her all-female event at Irvine’s Great Park on Aug. 29, already signaled where her head is at. “Serena Joy” is the mission statement set to melody.

The release also caps a prolific era. you seem pretty sad for a girl so in love spun off singles including “Drop Dead,” “Begged,” and “The Cure,” and Rodrigo is set to take the album on the road for her “Unraveled” world tour next month. In a pop landscape where stars often stay carefully apolitical, Rodrigo is doing the opposite, using her platform to say the quiet part loud. “Serena Joy” is out now on all streaming platforms.

Author
imogenhartley

Imogen Hartley

Imogen Hartley started writing about music because she was tired of reading reviews that described albums without actually saying anything. Based in Bristol, she covers emerging artists, pop culture, and the cultural politics of who gets called a serious musician and who gets dismissed. She spent several years contributing to music and culture outlets across the UK before joining Latetown Magazine, where she writes with the kind of directness that makes artists uncomfortable and readers come back.

Share This Article
Leave a Comment

Leave a Reply

Your email address will not be published. Required fields are marked *